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¿Conoces a Joe Black?: La Muerte Como Compañero De Paso

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¿Conoces a Joe Black?: La Muerte Como Compañero De Paso 1 24 ¿CONOCES A JOE BLACK?: LA MUERTE COMO COMPAÑERO DE PASO FICHA TÉCNICA Meet Joe Black (EE.UU., 1998). D.: Martin Brest. G.: Ron Osborn, Jeff Reno, Kevin Wade y Bo Goldm. P.: Universal Pictures. F.: Emmanuel Lubezki. M.: Thomas Newman. Mo.: Joe Hutshing I.: Brad Pitt (Joe Black) , Anthony Hopkins (William Parrish), Claire Forlani (Susan Parrish) Jake Weber (Drew) y Marcia Gay Harden (Allison). 180’ SINOPSIS Remake de “La muerte está de fiesta” de Mitchell Leisen (Death Takes a Holiday, 1934) que a su vez se basa en el libro "Death takes a Holiday" (La muerte toma unas vacaciones). Desde su título en inglés, Meet Joe Black, esta cinta evoca un título célebre de Frank Capra, Meet John Doe . En la primera versión fílmica de la obra de teatro, en los años treinta, a la Muerte la encarnaba con elegancia Frederic March; en 1971, en una versión televisiva, el papel correspondía a un Melvyn Douglas ya mayor y todavía más refinado. William Parrish, un poderoso y meticulosos magnate, ha creado a lo largo de toda su vida, gracias a su talento y a su entrega en el trabajo, una gran empresa de comunicación que es codiciada por otros empresarios. Un día, próxima la celebración de su sesenta y cinco cumpleaños, la tranquilidad con la que se desarrolla su próspera vida es turbada por oscuros presagios que preceden a la inquietante visita de un misterioso joven. Este joven, Joe Black, parece ser un desconocido para todos los que forman el entorno más cercano a Parrish, excepto para su hija Susan. Se trata, en realidad, de la personificación de la muerte con una misión que cumplir en dicho hogar. Joe Black es en realidad un hombre cuyo cuerpo aprovecha la Muerte para experimentar por sí misma todo tipo de sensaciones humanas. Y mientras duren las "vacaciones" de la muerte, nadie en la Tierra puede morir. Pero al conocer a Susan Parrish, hija de un poderoso hombre de negocios, la Muerte se enfrenta al dilema de seguir comportándose como lo que en realidad es, o bien, como un simple ser humano. VALORACIÓN Mediocre. Temas: Representación de la muerte. Amor y muerte. Muerte- paternidad-maternidad. Ante la propia muerte. Cielo-paraíso. SELECCIÓN DE ESCENAS Escena 1. La muerte se presenta (Bill en su despacho. De repente siente un espasmo y se pone las manos sobre el corazón. Oye su propia voz en off. ___________________________________________________________________________________ LA VIDA ES BELLA Catálogo sobre Cuestiones de Escatología en el cine contemporáneo (1990-2005) Pedro Sánchez Rodríguez 2 Off Sí. (Sigue retorciéndose de dolor) Sí. Bill ¿Sí, qué? Off Es la respuesta a tu pregunta. Bill No he hecho ninguna pregunta. Off Yo creo que sí. Bill ¿Quién eres? (Muy nervioso) ¿Qué diablos pasa aquí? Off Creo que lo sabes. Bill No, no sé. Off Inténtalo. Porqué si no lo intentas, no habrás vivido. Bill ¿De qué estás hablando? Off ¿De qué hablabas tú? Bill (Retorciéndose) ¿Quién es este hombre? ¡Dime quien eres! Off ¿Me estás dando órdenes? Bill No, lo siento. Off No lo sientes. Intentas controlar la situación. Pero ésta es la única situación que sabías que nunca podrías controlar. (Bill reacciona como si alguien le hubiese golpeado) Ya basta. Por ahora. (A Bill se le va pasando el dolor) Bill Habla, por favor. Off Habrá tiempo de sobra para eso. Bill ¿A qué te refieres? (Se queda solo, en silencio, de rodillas) Escena 2. ¿Eres la muerte? (Bill en su casa con su hija, Allison. El está como ausente) Allison ¿Papá? ¿Papá? (Entra la criada) Criada Señor Parrish, la cena está servida. Allison (Viendo que su padre sigue sin reaccionar) No importa. Déjalo en mis manos. (Bill empieza a oír su propia voz) Off ¿Me has echado de menos, Bill? (Bill se levanta) ¿Por qué tienes este aspecto tan irritado? ¿Me has echado de menos? Es una pregunta normal. Yo sí te he echado de menos. ¿Y qué recibo a cambio? Ni un atisbo de entusiasmo. Ni un ápice de pasión. Espero en la puerta de entrada. (Se sienta a la mesa. También está Drew y otro hombre) Allison (A Drew) ¿Hablaste con el gobernador? Drew Sí, por desgracia. Nos sentamos juntos en la fiesta de caridad del Bronx. Fue soporífero. Off Estoy esperando en la entrada de enfrente. ¿Nadie va a dejarme entrar? Bill (A la criada) ¿Lilian? ¿Hay alguien en la puerta? Lilian No. No he oído el timbre, señor. Bill Vaya a ver, por favor. Allison Nuestra lista de invitados es digna de la Casa Blanca. El secretario de comunicaciones, el secretario general de la ONU, nueve senadores, no sé cuántos congresistas Hombre ¿Ningún deportista? ¿Alguien con quién se pueda hablar? ___________________________________________________________________________________ LA VIDA ES BELLA Catálogo sobre Cuestiones de Escatología en el cine contemporáneo (1990-2005) Pedro Sánchez Rodríguez 3 Lilian (Acercándose a Bill) Tenía razón, señor, hay un caballero en la puerta. Le está esperando. Bill Acompáñele a la biblioteca. Dígale que ahora voy. Allison He encargado obsequios para las señoras y para los hombres. Llevan grabado “W.P.” Pero ahora estoy pensando en cambiarlos. Parecen muy vulgares. ¿No te lo parece, papá? Bill No lo sé. (Se levanta y se va. Se dirige a la biblioteca) Bill ¿Hola? ¿Hay alguien aquí? ¡He dicho que si hay alguien! (Oye su propia voz) Off Baja la voz. Bill ¿Dónde estás? Off Estoy aquí. Bill ¿Es esto una broma? ¿Alguna clase de broma pesada? “En el cuadragésimo aniversario de graduación, le enviamos una ataúd…” (Una voz distinta le corta) Voz Silencio. (De nuevo Bill oye su propia voz) Off ¿A dónde vas, Bill? (No sabe qué responder) ¿El gran Bill Parrish se ha quedado sin palabras? ¿El hombre cuyos labios han pronunciado “locura”, “pasión” y “obsesión”? ¿Esas admoniciones acerca de ser feliz hasta el delirio y de que vivir sin eso no tiene sentido? Toda la fuerza y energía que proyectas, esos consejos de color rosa proferidas en un tono metálico y profundo. Bill ¿Qué diablos es esto? (Le parece ver a alguien detrás de una cristalera) ¿Quién eres? Off Imagina milenios multiplicados por eones compuestos por un tiempo sin fin. Desde entonces existo. Pero sólo hace poco tiempo que tus asuntos han despertado mi interés. Llámalo aburrimiento. Mi curiosidad natural, el elemento más significativo y duradero que existe, ha venido a verte. Bill ¿Para qué? Off Quiero echar un vistazo antes de llevarte conmigo. Bill ¿Llevarme a dónde? (Ve una especie de reflejo distorsionado de sí mismo) Off Eso requiere competencia, sabiduría, experiencia. Todas estas cosas que te atribuyen en los homenajes. Eres el elegido. Bill ¿Elegido para qué? Off Para enseñarme esto. Para ser mi guía. Y a cambio ganarás… Bill ¿Qué ganaré? ___________________________________________________________________________________ LA VIDA ES BELLA Catálogo sobre Cuestiones de Escatología en el cine contemporáneo (1990-2005) Pedro Sánchez Rodríguez 4 Off Tiempo. Minutos, días, semanas. No nos enredemos en detalles. Lo que importa es que yo me mantenga interesado. (El reflejo se mueva por la estancia) Sí. Bill ¿Sí, qué? Off “Sí” es la respuesta a tu pregunta. Bill ¿Qué pregunta? Off Oh, Bill, vamos. La pregunta que te has estado haciendo con creciente regularidad en algunos momentos, al correr hacia el avión en Nueva Delhi, anoche al incorporarte en la cama, o esta mañana en el despacho. La pregunta que tienes atravesada en la garganta, ahogando la sangre que va al cerebro, resonando en tus oídos una y otra vez, mientras te la formulas. Bill La pregunta. Off Sí, Bill. La pregunta. (Bill ve una figura a contraluz que entra en la estancia) La pregunta. Bill ¿Voy a morir? (Se ilumina la figura que ha entrado, Joe Black) Joe Sí. Bill ¿Es mi imaginación? ¿Es un sueño? Joe No soy un sueño, Bill. Bill ¿Has venido a llevarme? ¿Qué sucede? ¿Quién diablos eres? (Joe se acerca a Bill. Se quedan en silencio, mirándose) Bill ¿Eres…? Joe Sí. ¿Quién soy? (Se miran en silencio) Bill La muerte. (Pausa) ¿La muerte? Joe Sí. Bill La muerte. Joe La misma. Bill No es cierto. Sólo eres un chico con un traje. Joe Venía con el cuerpo que dejé. Dame tu opinión. ¿Se me nota? Bill ¿Quieres usarme como guía? Joe Es tu papel. Bill ¿Te quedarás mucho tiempo? Joe Esperemos que sí. Bill Se acabó. Se acabó. (Entra Lilian) Lilian Señor Parrish, ¿el caballero se quedará a cenar, señor? Joe Sí. (Bill asiente a la criada) Gracias. Bill Esto es de locos. No pensarás cenar con nosotros. Joe Voy a cenar contigo, y con tu familia. Eso es lo que haremos. Y no admite discusión. Ni eso ni nada. ¿Acaso no lo entiendes? (Bill asiente) Bien. Ahora guíame. Escena 3. Llévame (Susan en el hospital. Habla con la recepcionista) Susan Hola, necesito un número de registro para el laboratorio y… ¿puedes llamar a su marido? ¿El número está aquí? ___________________________________________________________________________________ LA VIDA ES BELLA Catálogo sobre Cuestiones de Escatología en el cine contemporáneo (1990-2005) Pedro Sánchez Rodríguez 5 (Al fondo aparece Joe Black. Ella le ve y va hacia él) Joe ¡Qué guapa estás! Susan ¿Qué haces aquí? ¿Estás enfermo? Joe Claro que no. Susan ¿Pues a qué has venido? Joe He venido a verte. Susan Joe, en este momento no tengo tiempo. Voy a empezar con mi ronda y a ver paciente tras paciente hasta la hora de la cena. Joe Bien. Observaré. Susan ¿Observarás qué? Joe Hacer la ronda y ver paciente tras paciente. Susan (Riendo) Joe, eso es imposible. Soy médico. Joe Y yo seré una visita. Susan Los médicos no reciben visitas. Joe No me importa. (Aparece una mujer hispana llevando en una silla de ruedas a una anciana también hispana) Mujer Señorita, señorita.
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